PABLLO VITAR, GLORIA GROOVE AND THEIR PERFORMANCES: Audio-visual fl ows and temporali� es in pop culture1
JORGE CARDOSO FILHO Lecturer at the Graduate Program in Contemporary Communication and Culture at UFBA and at the UFRB Communication Masters, Cruz das Almas, Bahia, Brazil. PhD in Communication from UFMG. Volume 37 E-mail:cardosofi [email protected] issue 3 / 2018 ORCID: 0000-0002-4276-934X. RAFAEL JOSÉ AZEVEDO
Contracampo e-ISSN 2238-2577 PhD student at the Graduate Program in Communication of the Federal University of Minas Gerais, Belo Horizonte, Minas Gerais, Brazil. Niterói (RJ), 37 (3) Email:[email protected] dec/2018-mar/2019 ORCID: 0000-0002-5125-5957. THIAGO EMANOEL FERREIRA DOS SANTOS Contracampo – Brazilian Journal PhD student at the Graduate Program in Communication from the Federal of Communication is a quarterly University of Bahia, Salvador, Bahia, Brazil. E-mail: [email protected] publication of the Graduate EDINALDO ARAUJO MOTA JUNIOR Programme in Communication PhD student at the Graduate Program in Communication from the Federal Studies (PPGCOM) at Fluminense University of Bahia, Salvador, Bahia, Brazil. Federal University (UFF). It aims E-mail: [email protected] ORCID: 0000-0002-4022-6106. to contribute to critical refl ection within the fi eld of Media Studies, 1 A preliminary version of this text was presented in the VI Communication Proccess Historicity, in being a space for dissemination of the Federal University of Bahia, at the city of Cachoeira in the state of Bahia, in September 2017. The current confi guration of this article is unprecedented. research and scientifi c thought.
TO REFERENCE THIS ARTICLE, PLEASE USE THE FOLLOWING CITATION:
Cardoso Filho, J.; Azevedo, R. J.; Santos, T. E. F.; Mota Junior, E. A.. Pabllo Vitar, Gloria Groove And Their Per- formances: Audio-visual fl ows and temporalities in pop culture. Contracampo, 37(3).
Submitted on: 03/29/2018 / Accepted on: 11/04/2018
DOI – http://dx.doi.org/10.22409/contracampo.v37i3.19455 Abstract
This article proposes an analysis that understands the relationship between audio- visual and cultural fl ows as vectors that operate the political, aesthetic and social confi gurations of the experience, as from the drag performances of Pabllo Vittar and Gloria Groove. The YouTube platform is taken as a dispositive that, by positioning the bodies of the artists, opens up possibilities of subjectivation processes that cross the identities of gender, media genres and the very temporality of experience. From the videoclips, we articulate the notions of performance and dispositive to search crossings of gender identities, media genres and audiovisual and space-time streams in dispute. About the songs music, we follow the relationship between consumption and production that projects itself into a queer segmentation, but at the same time transcends its limits.
Keywords Audio-visual Flows; Temporalities; Performance; Pabllo Vittar; Gloria Groove.
2 Temporal dynamics in a present in extension
Current digital repositories hold a signifi cant amount of the world's cultural produc� on, especially in socie� es which take scrip� ng as a fundamental ac� vity. Whether they are centenarian or are very recent, these expressions become objects of binary codifi ca� on available on servers for people with variable interests: dance, wri� ng, architecture, music, fi lm, photography, etc. Such great availability promotes interes� ng rearrangements in the cultural, aesthe� c and poli� cal fi elds, making experiences more fl uid regardless of the moment in � me each of these expressions emerge. In the specifi c case we are interested in, gender performances expressed in contemporary pop songs indicate important complexi� es that need further analysis. Because in a context where the discussions about misogyny, feminism, LGBTfobia1, racism and so many other forms of discriminatory ac� ons are coming to surface, it is a common feeling that there has never been so many condi� ons of emancipa� on and empowerment. However, cultural expressions emerging in this confi gura� on need to ensure some level of repe� � on of the established experience in order to gain an emergency condi� on. These are the internal confl icts that interest us. In an interview granted to Rolling Stone Brazil in January 2018, Pabllo Vi� ar, a drag queen singer from the Brazilian state of Maranhão, drawn a� en� on to the fact that she is "a drag queen on the spotlight in a country that has the world's highest rate of murder of LGBT people" (Brêda, 2018, p.42). When asked about the lack of poli� cal content in her lyrics, she con� nues: "I think it's great when people create lyrics that bring up issues and controversies. But me, as an ar� st, I want to talk about ordinary stuff , of my daily life, about an argument I had with a friend, you know" (Brêda, 2018, p.42). Gloria Groove, a famous Brazilian drag queen who is also a rapper, in an interview to Veja magazine, comments about her iden� fi ca� on with "rap music and hip hop, music genres always associated with men" and how she decided to invest in high-quality music videos aiming to reach the public beyond the LGBT universe (Ba� sta Jr, 2018). Such characteriza� ons are indica� ve of the powers and the limits inherent to the ways in which these cultural expressions are manifested in Brazilian society. We agree with Raymond Williams (1979) about his indica� on that cultural analyses need to comprehend not only a period of � me, but also the "internal dynamic rela� ons of any actual process” (Williams, 1979, p.125). Thus, the author introduces a fundamental issue for Communica� on and Cultural Studies: the mul� plicity and simultaneity of experience regimes in the everyday life. The observa� on of the coexistence of diff erent temporali� es at the same historical � me, marked by archaic (past/past), residual (past/present), dominant (present/present) and emergent (present/future)2 elements interests us in par� cular for the observa� on of phenomena in which sensi� ve experiences point to a dispute about body construc� ons and hegemonic dominant gender iden� � es. The performances3 we observed especially in the work of these two drag queen ar� sts are
1 "LGBTFobia" is the term that designates embarrassment, discrimination or any type of violence suff ered by the population whose gender identities and sexualities are considered dissidents. LGBTQ is the acronym adopted by international human rights defense bodies such as the UN and the Amnesty International. The acronym represents the following gender identities and sexualities: lesbians, gays, bisexuals, transsexu- als, transgender and queer. The term also refers to the performativities not framed by cisgender logic, that is, the identity of a cisgender subject is respected and legitimated by society and the government since birth, while trans subjects have distinct identities from heterosexual cisgender normativity naturalized by society standards.
2 We use the approaches of diff erent temporalities, proposed by Raymond Williams, by Itania Gomes (2011) followed by the Cultural Studies and Transformation in Communication Research Center (TRACC).
3 Paul Zumthor (2000) approaches performance to a strength-form that holds the status of a rule and develops four aspects of it: the performance implies the recognition of certain characteristic features, it draws attention to itself while projecting the audience to another context, promotes non-redundat repeti- tions and modifi es knowledge as it marks the communication.
3 organized according to pop culture4 audiovisual standards, and they address everyday events, such as love, celebra� ons, seduc� on, inebria� on and so many others. They also present bodies — many of them considered abject5, others within the hegemonic pa� ern — that, while performing, can dialogue with already consolidated, but segmented, tradi� ons; break hegemonic expecta� ons and point out elements not yet available in the cultural context; and even reproduce hegemonic parameters, intending or not to ensure their inser� on into contemporary pop culture. Hence, they allow an analysis of how these audiovisual and cultural fl ows are capable of confi guring aesthe� c, poli� cal and cultural prac� ces. Such se� ngs do not follow a linear approach and o� en require/impose an anachronic reading6 perspec� ve before their expressions. The surprise of seeing singer from Pernambuco state Johnny Hooker performing in a sequence of the movie Ta� oo (2013), by director Hilton Lacerda, can be explained by the expecta� on (dominant in Brazilian patriarchal culture) that this kind of manhood does not fi t according to stablished standards. However, it is possible to ques� on whether this pa� ern fi ts the discussions promoted by social movements concerned with the strong binary demarca� ons of gender performances (male/female), mainly from a poli� cal LGBTQ minori� es perspec� ve. Even if it is not refl ected or addressed directly in their lyrics, the performances of the drag queen singers Pabllo Vi� ar and Gloria Groove can demonstrate resistance processes, in some extent, if we take into considera� on misogynis� c and patriarchal elements that characterize the poli� cal, cultural and aesthe� c hegemonic prac� ces in Brazil. By making their drag queen iden� � es visible, Vi� ar and Groove enter the dispute of meanings around feminini� es and masculini� es, challenging subjec� va� on devices as regards sexual conducts understood as the only ones possible in society. These disputes are even more evident in conducts such as the ac� on of crackers who crashed Pabllo Vi� ar's YouTube channel on August 28th 2017, dele� ng the most viewed music video, “K.O.”, and pos� ng in its place messages suppor� ng the presiden� al candidate Jair Bolsonaro, known for his homophobic and misogynis� c statements, and against the extension of minority rights, such as the racial and or social quotas in public universi� es. This ar� cle is an exercise that departs from the ar� cula� on of diff erent temporali� es in pop culture analysis based on three axes, considering as objects the music videos produced by ar� sts Pabllo Vi� ar and Gloria Groove. We are interested in the disputes around the dissident gender iden� � es (drag queens in par� cular) , in the ar� cula� on between pop music, media� c genera and performances displayed in digital pla� orms, and in the subjec� va� on processes in diff erent experiences of aesthe� c and poli� cal quality that conform our rela� onship with � me. What intrigues us is the problema� za� on of these communica� onal products and the interpella� on of the subjects – of both who produces and who watches the videos, understanding pop temporali� es and its valua� ons that "assume cosmopolitan forms of inhabi� ng and 'un-inhabi� ng' the world, projec� ng informa� onal territories where the local roots become diff use" (Jano� Jr, 2015, p. 46). For these observa� ons, our theore� cal-methodological proposal aims to ar� culate the concepts of performance and device, searching for the mul� plicity of gender iden� � es, media genres and audiovisual fl ows, and space-� me disputes. We comprehend the videos with their aesthe� c and poe� c
4 We agree with Janotti Jr (2015) on the understanding of pop culture as a place of diff erent experiences through media, marked by the transformations caused by the encounters and tensions of media cultures modernities.
5 "Abject means here precisely those "inhospitable" and "uninhabitable" areas of social life, which are, however, densely populated by those who do not hold the status of subject, but inhabit forms under the sign of "uninhabitable" is necessary to ensure that the domain of the subject is circumscribed (Butler, 2000, p. 155).
6 Historians claim that anachronism is the action of placing a fact in a diff erent era of the age it belongs or suits and it is considered a serious method problem. In our perspective, anachronism is an appropriate process to understand the dynamic relationships of cultural processes, as indicated by Raymond Williams (2013).
4 nuances based on Soares (2012)7, with the inten� on of ar� cula� ng the inherent aspects of the pieces to the contemporary context. To analyse the vocal gestures we resort to the albums and songs released by the ar� sts8, seeking to highlight the rela� onship between consump� on and produc� on projected in the queer9 segment but which also transcends its limits. We understand the concepts of gesture in the perspec� ve of performances studies ar� culated with the contribu� ons of Ta� t (2002) to refl ect on the eff ects of presence through singing and voice, under the angle of the interac� on between the audience and their exper� se, between the singers and their gestures. Finally, these fi ndings are contextualized based on the discussions of Mar� n-Barbero (2009) and the refl ec� ve experiments of the idea of techno-communica� ve environment, upda� ng the meanings of media� ons to cultural muta� ons. As we analyse the products of Pabllo Vi� ar and Gloria Groove based on the author's concepts, we want to approach what characterizes the hodiernal media� c context marked by the existence of audiovisual fl ows, migra� on and the compression of � me and space. Therefore, we seek to observe how the performances materialize the space of pop culture ar� cula� ng diff erent temporali� es, and the cultural expressions – videos and songs – as collec� ve transtemporal forms of ac� vity..
Networks, discursive forma� ons and textuali� es
To interpret the diff erent temporali� es in the performances of Pabllo Vi� ar and Gloria Groove we built a specifi c contextualiza� on network, mobilizing documental aspects (such as interviews and statements) and fi c� onal produc� ons (such as songs and videos) (Cardoso Filho, Gutmann & Azevedo, 2017). The heterogeneity of the materials is anchored in the concepts of Jason Mi� el (2004) and Itania Gomes (2011) about the problema� za� on of the media genre as cultural categories10. We propose to understand the rela� onship between the audiovisual and temporal fl ows around drag queen iden� � es found on Vi� ar and Groove's performances. These rela� onships materialize in specifi c performances, which reveal par� cular, unstable, strength-forms, that are transformed each � me they are accessed: "Between the suffi x designa� ng an ac� on on course that will never be fi nished and the globalizing prefi x, which refers to an inaccessible totality, if non-existent, performance stablishes the “form” improbable" (Zumthor, 2000, p. 38). By considering this approach, we highlight a way of understanding performances as interac� ons between subject and object that have their own determined reiterabili� es. In this regard, Zumthor (2000) states the existence of performance “levels”, - the fact that there is no co-presence does not imply a lack of
7 Soares (2012) considers music videos as a place of creative shock and takes three vectors and their intersections to the analytical process: music, image and montage. In the analysis of the products, Soa- res observes how certain videos display, in their imagery nuances, a polyphonia from perfomatic aspects, scenic elements, cultural signs, narratives, territorialities as the production of meanings. He uses the term "sound landscape" to comprehend the reifi cation of music in images, "generating a virtual eff ect of hearing something and 'being' on music. Or 'being' in sound", the sound landscape puts music videos 'within an optics naturally imbricated with the very origin of the song' (SOARES, 2012, p. 43).
8 Pabllo Vittar launched, in January 2017, the album "Vai Passar Mal" on the digital platforms Spotify, De- ezer and iTunes, with 10 tracks (Nêga, K.O, Irregular, Corpo Sensual, Tara, Todo Dia, Então Vai, Ele é o Tal, Pode Aprontar e Indestrutível) Gloria Groove launched the album "O Proceder" in February of 2017 on the same platforms. The album contains 8 tracks (Império, O Proceder, Muleke Brasileiro, Problema, Gay (Interlúdio), Gloriosa, Madrugada and Dona).
9 We use the term from Queer Studies, which considers the diversity of sexual, gender, identity construc- tions and erotic expressions, as building methods of one self and community practices (Halperin, 2007, p. 83).
10 Considering media as cultural categories, as Mittel (2004) and Gomes (2011) state, means to unders- tand them in the relations with the industry, audience, critic and academia discourses, that is, to com- prehend them in the relationship stablished between mediatic texts and other texts that circumscribe them, dispute them and put them in tension.
5 interac� on - then it is possible to establish the principals of performance, even in the context of media� c products. We analyze YouTube, in Agamben's terms11, as a disposi� ve that constructs certain process of subjec� va� on, such as gender iden� � es, media genres and temporali� es. In other words, Vi� ar and Groove's performances incite us to observe how drag queen iden� � es infl ect in the present when ar� culated to the ways of watching and producing of these pla� orms. Elements from the past and from the past in the present are overlapped in the present sugges� ng problema� za� ons in the present/future. We bring up the discussions of Mar� n-Barbero (2009)12 about his concept of techno- communica� ve environment which characterizes the contemporary media� c context. This context is marked by the existence of audiovisual fl ows and popula� onal migra� ons, as well as by the compression of � me and space13. In the analysis of the performances of Vi� ar and Groove we iden� fy that, in addi� on to the recurring discourse of accelera� on and consequent temporal restric� on and the fact that they also aim towards the future, there is a rela� on between the matrices and the references from diff erent places and historical � mes poin� ng to the importance of the past to the understanding of phenomena in the present. And, in addi� on, for an intrinsic rela� onship between � mes and spaces. It is important to say that both drag queens, their performances concep� on and their appeal to gender performances point to complex cogni� ve rela� onships, marked by hypertextual associa� ons, in which elements of diff erent temporali� es are ar� culated. Finding out which hipertextuali� es, however, depends on who consumes them and, in the specifi c case of this ar� cle, on who analyses them. When looking at the objects, we stablish these ar� cula� ons, building our own networks. Therefore, this analysis considers the performances in context as important historical fi gures (Goulart, Leal, Gomes, 2017)..
Pop performances and their marks: Vi� ar and Groove
Pabllo Vi� ar is the drag queen persona of Phabullo Rodrigues da Silva, a 23-year-old gay boy born in the state of Maranhão in the North of Brazil. She He thrived in Brazilian pop scene, ar� cula� ng typical
11 To Agamben, device is "[...] anything that has in any way the ability to capture, guide, determine, inter- cept, model, control and ensure the gestures, the conducts, the opinions and the discourses of the living beings. Therefore, not only prisons, asylums, the panopticon, schools, confessions, factories, disciplines, legal measures, etc, of which connection with power is in a clear sense, but also the pen, writing, litera- ture, philosophy, agriculture, the cigarette, navigation, computers, cell phones and - why not - language itself, that is perhaps the oldest of devices, which thousands and thousands of years ago a primate - pro- bably without realizing the consequences of being followed - had the unconsciousness of letting himself capture" (Agamben, 2005, p. 13). Still according to him, in the current stage of capitalism, we see several processes of subjectivation, caused by devices such as YouTube, that overlap in a same living being.
12 We use the interview of Jesús Martín-Barbero to the magazine Fapesp because the author proposes a ar- ticulation between the map of cultural media (Martin-Barbero, 2008) and what he will call a map of cultural mutations. In the interview, the author refl ects on the reinvention of media and genera on the interface of television with the internet, producing what he calls "hybrid communication forms" (Martin-Barbero, 2009, p. 2). These forms work "transversally" in all means, and the genera would be broken in this relationship. Martín-Barbero questions the technological transformations in the contemporary context, which leads him to refl ect on mediations in the articulation with time and space. From this perspective, he prefers to think in terms of cultural mutations.
13 Martín-Barbero presents the techno-communicative environment in as interview to Pesquisa Fapesp magazine: "The important idea then is "environment", the new ecosystem. We can no longer talk about communication as a set of media, they don't last 10 years as they are. It's a change of time. [...] There is a liberation of time, and, simultaneously, a mobility that compress time - each day we have less time. Indeed, if capitalism hadn't gone mad when the Berlin Wall fell, if it had got a little historical vision, instead of producing the crisis we are in, it would have created a model on which humanity would work four hours, not eight. But it produces money with money, without producing anything. So, there is a radical transfor- mation of time and working time" (Martin-Barbero apud Moura, 2009, p. 15). It is also in this interview that Martín-Barbero presents its map of cultural mutations, established between times, spaces, migrations and fl ows. Technology, ritualities, cognitivities and identities are the mutations proposed by the author. To read more about the map in a close construction that we propose in this article see Gomes et al (2017).
6 and foreign music genera and highligh� ng discussions about drag queen iden� � es performances. Vi� ar has a YouTube channel14 with 4.25 million subscribers15. On her channel, the music video K.O.16, one of her most popular songs, has around 292 million views. In July, the video Sua Cara17 featuring Ani� a and Major Lazer had 17,4 million views18 on the day of its release. Before becoming a well-known ar� st, Vi� ar hosted a vlog in her YouTube channel, on which she commented on music, men� oned her other social networks, such as Twi� er, and posted cover performances based on American pop ar� sts, like Ariana Grande. Daniel Garcia Felicione Napoleão, also known as Gloria Groove, is a 23-year-old gay boy from São Paulo. Her career is strongly bound to black music, rap, hip hop, and, as well as Vi� ar, pop. Groove decided to be a drag queen a� er featuring many musical groups and shows, such as the children's group Balão Mágico in 2002, and the popular TV show Raul Gil. She was also infl uenced by the reality drag compe� � on RuPaul's Drag Race (Ba� sta Jr, 2018). Her fi rst popular song was Dona in 2016. Its video19 has around 4.3 million YouTube views. A� er that, she was the opening act for two former par� cipants of Rupaul's reality show - Adore Delano and Sharon Needles, winner of season four - presen� ng the show Donatour. Among the videos available on her channel, Groove posts compila� ons of this tour, in addi� on to cover performances of Erykah Badu and Beyoncé, American R&B and pop references. Open Bar, the fi rst video by Pabllo Vi� ar launched in 2015 on her YouTube channel is a version of the song Lean On, of the group Major Lazer featuring DJ Snake and singer MØ. The Brazilian version reached 59 million views on the pla� orm20 and, with the success of the video, gained popularity at LGBTQ par� es. In Open Bar, the body emerges exactly as the feminized aspects of the act of “montação”. Wig, make up, the focus on nail pain� ng, the beach wear costume choice and her body's sensuality mark a specifi c form of that singer being drag. The video explores the proximity-impersona� on of hegemonic femininity traces in Pabllo's drag queen iden� ty. In the scenes, there is a diff eren� a� on of Pabllo's body, that brings together hegemonically female elements and other bodies present, such as cis-male men and perfectly shaved sparkling drag queens. There is a celebra� on atmosphere among the bodies and, in some way, they all come to peace in their diff erences, circumscribed to the domes� c environment. On the other hand, we can see in the video's comment sec� on on Youtube nega� ve cri� cs to Pabllo's version, like the ideia that Major Lazer's song was ruined. Some people defi ned it as "a poor version", others cri� cized the female body performed by a gay man, whether than a cis female body ("you look like one of the White Chicks; Pabllo Vi� ar, if you're a fag why don't you have boobs?"21).
14 We draw attention to the fact that YouTube keeps the vocable channel from broadcasting systems.
15 Number observed on February 26th, 2018.
16 The music video K.O. can be seen in
17 The music video Sua Cara can be seen in
18 Even though Pabllo Vittar collaborated, Sua Cara is not available on her channel, but only on Major La- zer's. Today, the video has 355 million views. We can see other Vittar's videos on other channels beside hers. It is also the case of the videos Minaj - written as the last name of the singer "Nicki Minaj" with a reference to the "butt" - and Lover videos. Both available on fans' channels. Number of views verifi ed on February 26th, 2018. Information available on
19 Number observed on February 26th 2018. The music video Sua Cara can be seen in
20 Available in
21 Excerpts from the comment section available on the video's page available on YouTube. To see these and other comments, access
7 Pabllo's performance makes us wonder about the posi� on of cis women in interna� onal pop music in the latest years. The similarity to singers Britney Spears, Beyoncé, Rihanna and Nick Minaj is evident by the explicit gesture and body language performed on the video. In this sense, we can understand that Pabllo's body is crossed by musical consump� on a� ributed to certain specifi ci� es in gay culture, but then, when building a dis� nct version, it presents various tensions in rela� on to the background, sound and cultural elements. In Major Lazer's version, there is a typically Indian environment very diff erent from the celebra� on atmosphere we see in Open Bar. In fact, the only elements appearing on both videos are a bed and a pool, which in Lean On is a Jacuzzi (see Figures 1 and 2).
Figures 1 and 2: frames captured from Major Lazer's Lean On22 and Pabllo Vittar's Open Bar23
In the video, the drag queen elements appear in several scenes from the fi rst take and highlight accessories of the female universe. In the context of visuality, Pabllo's body performs towards the camera, invi� ng the viewer to the experience of the pool party. The brazilianness of this version appears in the music arrangements, in a reference to samba and the barbecue ambience. All of these aspects create a party mood in the video where local and global elements are in a tension brought up through these sounds - even though we recognize the determina� on processes involving the music industry and that extend the range of products to a global scale. When we refl ect on this body suff used by global features we can understand that these marks are inscripted in the ar� st's own body and are not displayed as mere publicity. In the K.O.24 video, we see a drag queen's body performing among commercial possibili� es, with the publici� es of the Absolut Vodka and Adidas. In the case of Adidas' publicity, we note two issues: the fi rst is the displacement of an exclusive historically established rela� onship between the brand and hip hop; the second is the deconstruc� on of the gender segmenta� on in clothing. According to Silva (2017), Vi� ar a� racts brands because in her videos it is possible to use product placement strategies, "a format that makes the brand tangible to the public inside a piece that will be consumed countless � mes. It is like propaganda within a content that, in addi� on to being consumed in a moment of joy, focuses on image and actual viewing” (Silva, 2017). In the K.O. video, cinematography focuses on a dark atmosphere with beams of light that enter the gym through windows, and the direc� on uses neutral colors, such as black, grey and white, aspects that build up an aesthe� c culturally referred to a hegemonic masculinity. We see the presence of a boxing ring, boxing clothes, trophies, bandages involving the hands of the "rival", elements referring to physical strength, in a song about a love knockout. In the scene, we also see that this love "hit" involves two men, in this case Pabllo and the actor who plays the other part in the rela� onship. The video's narra� ve underes� mate the rela� onship between violence and homophobia, while connec� ng the body of a homosexual to a knockout vic� m. And there is also a built-up expecta� on inside the video when the kiss
22 Available in
23 Available in
24 Abbreviation of the word "knockout" which means the action in boxing where the fi ghter remains un- conscious for ten seconds. The knockout means a moment of defeat, according to the rules of the fi ght.
8 in the end does not happen, symbolizing an interdic� on of the love potency. Groove's body presents itself in the videos in another way. In Dona, the night club ambience and its light eff ects creates an atmosphere of sociality, with the presence of other drag queen ar� sts who perform the song with their bodies. There is a striking presence of red lights and light beams interac� ng in the image, crea� ng this futuris� c visuality and, in some way, it symbolizes the transforma� ons in Brazilian pop culture brought by Groove in the song: "Oh, Jesus/ What the hell is that? / Is it a woman? / What is it? / Nice to meet you, I am art, my dear/ So, applaud me." In Dona, we see visual eff ects similar to those present in several pop music videos, and, in par� cular, scenes of the video in Your Eyes, from singer Kylie Minogue (see fi gures 3 and 4).
Figures 3 and 4: Frames captured from Dona25 by Gloria Groove and In Your Eyes26 by Kylie Minogue
This futuris� c style is ar� culated with Gloria Groove's comba� ve performance as a new moment in pop music in Brazil, with the presence of non-binary singers. The gestures are the tools of the body that creates tensions: she performs for the camera, using hip hop gestures in a body fi lled with non-hegemonic female elements. She is not concerned with specifi c standards, like a thin waist, a feature of the transi� on between being in drag and not. In Império, these signs an� cipated in Dona are even more incisive. We note this in the lyrics, where she claims the construc� on of an empire, a drag queen empire. There is also the presence of this non-hegemonic female body with heavy make-up, way too long fi nger nails, a horn replica in the place of a wig, all of which creates a dreamlike atmosphere (see Figure 5). In the context of the universe created through the images in this song, it appears to us that she uses this dream aspect to indicate that the drag queen empire is something to be built.
25 Available in
26 Available in
9 Figure 5: Gloria Groove's captured image in the Empire video27
In the video, there are s� ll other bodies appearing, such as black people or other drag queen iden� � es dis� nct from Groove's, and they are an integral part of this diversity, which is the drag queen culture. It all performs in the light of hip hop culture, such as the fl ow, the spoken excerpts of the song referring to the MCs and the hip hop ba� les, the improv and the narra� ves about race, social class and urban confl icts. She explicitly marks this dispute in the excerpt when she says: "The specialist of destruc� on/Examine this! (Hmm)/ Heading the revolu� on/ Here's the girl!"28 Here, for instance, we highlight some possible interpre� ve keys in the last verse. The Portuguese slang "mina" means "girl" but also means "mine", the object of destruc� on. This relates to Groove's statement on Trip magazine29: "You don't know the diff erence it makes for a black kid, a gay from poor urban outskirts, [...] to look at my work and think 'it could be me', thinking that people can see themselves in me", she says. The excerpt from the song above shows that, instead of exploring the proximity with hegemonic feminini� es, Gloria explores the performance of the body and of “montação”30 through rap and hip hop culture. Her body represents a double resistance as a drag queen and as a minority inside this par� cular music scene, where historically minori� es such as women and gay people are less visible. It is in this sort of unfi tness that Gloria Groove creates the possibility of a drag queen in hip hop and the tensions inside a music genre of which social conven� ons operate from a hegemonic masculinity perspec� ve. In Pabllo's and Gloria's performances we understand there is a drag queen iden� ty affi rma� on even if they work in diff erent ways. Unlike Pabllo, who appears in a polish and peaceful body that dialogues with the hegemonic signs of femininity, Gloria Groove appears in a more direct and incisive way appropria� ng the lyrics and the videos as dispute elements. These diff erences relate to the fact that Pabllo Vi� ar places herself in pop culture and seeks a clearer posi� on in mainstream music industry, while Gloria Groove ar� culates with hip hop, which has diff erent market strategies from pop. The two of them, however, have in common the choice of not "ghe� oize"31 their bodies, rather than making them public, to
27 Available in
28 In the original: “Especialista em destruição/ Examina! (Hmm)/ Encabeçando a revolução/ Eis a mina!”. The verses “Examina!” and “Eis a mina” in Portuguese sound the same.
29 Available < http://revistatrip.uol.com.br/trip-tv/gloria-groove-a-dona-da-porra-toda>. Access on: Sep- tember 17th 2018.
30 The term "montação" is used by gender and sexuality researchers to refer to the ritual performances of the drag queen universe and is related to body and personality modifi cations. For more examples of the use of the term, see Amanajás (2015), Gadelha (2008), Jordão & Soares (2016).
31 The terms "gueto" and "ghettoization" refer to urban experiences such as the economic exploitation of lower classes, their reinventions because of segregation dynamics and urban poverty. In Sociology, the term address to the meaning of violent areas, social encapsulation and the search for territory references
10 be seen in broader scales and not only in specifi c spaces. The visibility achieved by them has caused various reac� ons. For example, in the 2017 edi� on of Rock in Rio, a� er Pabllo Vi� ar's presenta� on with singer Fergie, the idea of that edi� on being the gayest one in history began to circulate on social media. In response, those cri� cs were considered homophobic. And the counter argument used was the low-quality of the music. This argument shows that, from the perspec� ve of "musical taste", LGBTQ singers who par� cipated in the latest edi� on - Johnny Hooker, Liniker, Almerio and even Ney Matogrosso - were classifi ed as ar� sts of ques� onable quality. We can also iden� fy a rela� on with how these bodies occupy the public scene today. If we look to other fes� val edi� ons, the performances of homosexual ar� sts such as Fred Mercury, Cazuza and Cassia Eller, became examples of "high-quality" a� rac� ons. The ques� on we must ask is whether this legi� mized place is built by a rela� onship with rock, as a musical genre of reference and cri� c valoriza� on..
Drag queen voices: from singing in false� o to speak-singing
When we deal with pop music performances, we are already using valora� ve parameters that anchor our experiences. Such parameters can vary according to the pop universe in ques� on. In this ar� cle, we highlight the consump� on and produc� on projected in the queer segment, but that also transcend its limits. From this perspec� ve, it was essen� al to build context and intertextual networks to deal with the voices of Pabllo Vi� ar and Gloria Groove, focusing on the vocal performances of these drag queen singers. The singing voice, we highlight, is the projec� on of a body in the world. It is the affi rma� on of its presence in space-� me and, in addi� on, the element that sensually interpellates us. With the inven� on of phonographic record techniques, this presence could be shi� ed by the possibility of a virtual sensory experience with a performance (Zumthor, 2010). This leads us to reaffi rm a poten� al model of spreading the singing voice that always refers to the body that emits it. We get to know this queer universe when we listen to the voices of Pabllo Vi� ar and Gloria Groove; not only through what is said in the lyrics, but also by how they transform their voice in a space to imprint gestures, to act in the world in a certain way. Luiz Ta� t reminds us that "can� ng is an oral gesture, at the same � me con� nuous, ar� culated, tense and natural, that requires a permanent balance between the melodic and linguis� c elements, the musical parameters and the colloquial intona� on." (Ta� t, 2002, p.9)32. More than that, affi rming the world's presence through singing involves the interac� on between the audience and their exper� se, and between the singer and his/her gestures. A� er listening to the singers' albums, we wonder what is projected from the vocal gestures of each one. Pabllo's work was surrounded by expecta� ons that involved a previous record with Portuguese of alterity (ethnic, gender, social minorities). Ghetto as a sociological concept can be found in Wacquant (2004). These ideas are related to the work of Stuart Hall (2009) about black culture, which addresses the fi eld of popular culture as a space of intense disputes for hegemony, such as a resistance and consent arena in opposition to dominant culture. “Popular culture, especially, organizes itself around contradic- tions: popular forces versus the bloc of power. This grants the Cultural fi ght fi eld their own specifi city" (Hall, 2009, p. 245).
32 Luiz Tatit (2002) says that the oral gestures of songs refers to the balance between the diff erent di- mensions that involve the melody, the voice and the word. The author states the gesture of the singer as creation of "a perpetual piece with the resources used for the ephemeral production of the daily speech" (Tatit, 2002, p. 11). Despite the author's perspective of textual centrality, we use Tatit's oral gesture of the song to articulate the observation with the corporalities (which is in this case the body of the voice). In this sense, Zunthor (2005) states that the voice needs to be linked to the body to constitute a performance. The body is the living conductor of all the gestures that make part of the daily life. “The performance is a complete poetic achievement: the words are transformed into a single group of gestures, sounds and circumstances so consistent (in principle) that the words and sentences are barely distinguished" (Zum- thor, 2005, p. 86-87). Galard (2008) seeks to understand the conventions and institutionalized elements that regulate our body language. From the perspective of gestures, the author proposes to consider them as aesthetic objects that reveal the sign development strategies in constant negotiation with our cultural contexts (Galard, 2008, p. 29). Therefore, the articulation of performance and voice we propose in this article is to refl ect on another corporally imprinted element in the singing moment of the performance.
11 versions of songs already stablished in the pop and gay universe. Todo Dia, the fi rst single of the record Vai Passar Mal (2017), seemed to have accomplished that: in the opening lines of the track, she proudly announces: "I don't wait un� l Carnaval to be a slut" and complements, "I am one every day”33. False� o singing was already Vi� ar's style before launching her album and in almost every track that is the main characteris� c of her vocal performance. In general, this voice s� ll reaffi rms rela� ons to mainstream pop ar� sts such as Katy Perry, Lady Gaga and Shakira, even though Pabllo Vi� ar is infl uenced by local musical universes like "arrocha" and "forró". She clearly imprints what she intends to be: a drag queen singer who consolidates her posi� on while using the language of "lacração"34. Her performance is marked by profound vocal placement and her voice is intense. There is li� le space for whispers in the self-affi rma� on of verses like "Everyone wants me, but what can I do?" in the song Nêga, "You already lost me" in Irregular, "You'll go crazy, I will play with your mind with my sensual body" in Corpo Sensual (featuring singer Mateus Carrilho from the group Banda Uó). This "lacração" goes very well together with the intense vocality of false� o singing, that itself already clearly defi nes Pabllo's queer performa� vity. In other situa� ons, she sings in lower pitches that provides sensuality, like in the song Tara, or even gives more seriousness to the work, such as the case of the self- help tone in Indestrutí vel, the album's fi nal track, where we hear only piano and voice arrangements. The voice in K.O. gets closer to this less intense and weaker vocal gestures; she admits: "Your love got me/ You hit me so hard with your love/ It came out, knocked me out". This is, in general, the tone of the song: her singing is a sort of confusion or weakness of someone who seems to have lost control while experiencing a romance. We consider these verses as a singing-confession: "I was always a fi ghter, but it was on the fi rst strike / I was helpless, the heart lost the fi ght, yeah/ Goodbye party life, single life, I want Friday night / Being with you in my bed, together, closer". This varia� on of tones shows the ar� st's cleverness: the voice changes according to what is said and the so� er singing suggests the weakness of the character played by the singer. Gloria Groove uses the same language strategy of "lacração" opera� ng from other vocal gestures related to dis� nct universes: her rela� onship with rap is probably the most striking aspect of her work. Right on the opening of the album O Proceder (2017), the voice names who is singing "Uh, Gloria Groove/ Hold it" and follows "Living in the world, you know this sh*t is serious/ Pu� ng yourself out here some� mes with no criteria/ Taking the legacy as part of the mystery/ Working to thrive the Empire!". Several songs of the album start with this announcement, this type of signature is one of the most common marks in the world of rap. In addi� on, her vocality works in a more spoken kind of singing and reveals other characteris� cs of this universe as we see in the constant use of slangs - many of them part of the queer dialect: for example, in O Proceder, the verses: "You can badmouth me, hunty/ Get a beef with these hoes is trouble / Ask for a stage, girl, this is what you want/ I'll expose her on the internet"35. Another aspect is the men� on of autobiographical elements as we see in Dona: "So one day tell the story/ of the girl that changed everything/ That came from the east side of São Paulo/ To become the owner of the world". Even a obvious men� on of Jay-Z's song "99 problems" from The Black Album (2004) states: "Don't be sad, no, hon/ 'Cause I will be fi ne without you / 99 problems in my hands and of course /You're not gonna be number 100". While Pabllo Vi� ar uses predominantly the false� o - which etymologically means dissimula� on
33 The song was taken off the album on streaming platforms after copyright confl icts between Pabllo Vittar and the collaborator Rico Dalasan.
34 "Lacração" is a slang used by the LGBTQ community to designate a successful attitude, behavior or performance. In this context, the verb "lacrar" is commonly used in expressions such as "lacrou com as inimigas"(translated to "you fi nished your enemies") that means a compliment to a behavior that is ca- pable to silence anyone involved.
35 In the original: “Pode falar mal de mim, monete/ arranjar paju com essas gayzinha é bad/ De um palco era o que tu queria, fi a, pede/ 'Eu vou expor ela na internet'"
12 and distor� on -, Groove's performance alternates from singing to speak-singing (the latest being the main element on her performances), which we can observe in the chorus of diff erent tracks from the album and in the en� re song Madrugada. For Ta� t (2002), there is a presence dynamics between the voice singing and the voice that speaks in vocal gestures. When the speak-singing (intona� on) tends to be predominant in a performance, it is as if the singer reveals him/herself in the presence of their interlocutors, stablishing complicity and trust as possible eff ects of enuncia� on. Ideas such as dissimula� on, ar� fi ciality and vocal placement should not point to any pejora� ve meaning: they have to be taken as characteris� cs related to the aspects of which the singers perform to the public36. The percep� ons we are poin� ng out from vocal gestures tend to reaffi rm impressions that we also have in observing how they behave in other devices as we can see in the videos. We fi nd similari� es on Instagram while observing that Gloria Groove is a low-key drag queen in comparison to Pabllo Vi� ar, which are their strategies towards the public.
Audiovisual fl ows in context
The numbers of views presented by the two drag queens indicate changes in the forms of produc� on, consump� on and circula� on of videos in Brazil and in the world. In 2005, YouTube was created to be a repository – the slogan was Your Digital Video Repository (Burgess, Green, 2009, p.20). However, the access to cameras that were very easy to use allowed a higher number of recordings of the daily life. In � me, people were using YouTube to make visible their home produc� ons and to cease the curiosity about others' lives. The slogan became Broadcast Yourself (Burgess, Green, 2009, p. 20). The ar� sts analyzed, at the start of their careers, present these characteris� cs from the beginning of YouTube. In Pabllo's channel, we fi nd videos in which she performs interna� onal pop songs, using only a guitar in a visibly domes� c environment. In that image, we no� ce the use of two cameras, but the quality diff erence of the images between cuts, the poor quality of sound and the frames that do not exactly capture the whole scene demonstrate how amateur the footage was (see Figure 6). On the other hand, Gloria Groove uses a be� er resolu� on image, even though it is placed in a domes� c environment with the presence of a couch, a table and light strings as decora� ve objects. It also uses an unique and shaky shot (see Figure 7) that reinforces the homemade video.
Figure 6: Image captured37 from a Pabllo Vittar's homemade footage from her performance in the beginning of her career.
36 As approached by Cardoso Filho (2014), indicating how pop music "grows" a kind of sound perception on the listeners linked to dominant semiotic standards in a specifi c technical, social and cultural context.
37 Available in
13 Figure 7: Image captured from a video of Gloria Groove's performance available on the artist's YouTube channel38
Since Google's purchase, the number of ar� sts using YouTube to release their music videos increased, which led to a process of professionaliza� on of the products made for the pla� orm followed by the consumers. Some small producers emerged on the market and are specialized in music video produc� ons for ar� sts in the funk, pagode and sertanejo39 segments, and they have accumulated a good number of viewers of their products. The produc� on and consump� on of music videos in Brazil started in the 1960s and 1970s in exhibi� ons on Rede Globo's TV show Fantásti co and reached their peak when they were exclusively broadcast by MTV in the years 1990-2000. From these moments, it remains the public's behavior of watching music videos of their favorite ar� sts several � mes. By comparing past decades consump� on and the way we do nowadays we see a great diff erence: today it is no longer necessary to record VHS tapes to repeat the reproduc� on. With an internet connec� on, it is possible to watch high quality videos any� me. Another important transforma� on is that, instead of crea� ng a music video list from the interac� on with the audience by phone or the internet, Youtube, through its codes, operates as a music video curator and creates lists of videos related to one another. So, Pabllo Vi� ar’s K.O. leads to other videos from her like Corpo Sensual, Open Bar and other ar� sts like Rico Dalasam (Fogo em Mim), Emicida and Miguel (Oásis), Karol Conka (Lala), Liniker (Zero), among others. Similarly, Dona of Gloria Groove leads to her videos Império and Gloriosa, and to other singers like some already cited among Linn da Quebrada (Enviadescer), Chico Buarque (As Caravanas) and MC Queer (Fiscal). This list curated by Youtube can be consumed in automa� c reproduc� on, through a bu� on that can be triggered by the user and it is created from ar� sts that are co-related and the consump� on habits of each person. In Mar� n-Barbero's terms, it means to perceive how technici� es and rituali� es can explain specifi c ways of watching and doing, and the forms they are consumed in a cultural context. As Mar� n- Barbero states (2009), technicity is not only a ma� er of technology, and rituality is about rhythm, memory, how produc� on logics and recep� on skills relate to the format. Observing the centrality of audiovisual fl ows in the current media context leads us to look beyond the channels of the analysed ar� sts. It is not possible to understand the phenomenon Pabllo Vi� ar without
38 Available in
39 According to the article of the newspaper Folha de S. Paulo: "At least three video producers are on this market: Kondzilla, Tom Produções and P.drão, which, added together, have 86 million views on the website. The fi rst two are among Brazil's 50 largest channels as far as subscribers numbers". Available in:
14 considering her collabora� ons: Rico Dalasam (Todo Dia40), Mateus Carrilho (Corpo Sensual) from the group Banda Uó, and her presence in other ar� sts' channels, like Major Lazer's, on the already men� oned Sua Cara featuring Ani� a, and collabora� ons with Gloria Groove and Aretuza Lovi (Joga Bunda). The so-called "feats" - an abbrevia� on of "featuring" - are important strategies in current music produc� on, vastly used in American Rap and Hip Hop since the 90s41, incorporated by Brazilian ar� sts. They see in these collabora� ons ways to access diff erent audiences, expanding the circula� on of their products, becoming more visible. K.O., Vi� ar's most seen solo video, has around 20 million views less than Sua Cara. If we take the legi� ma� on of Pabllo Vi� ar's career from the perspec� ve of journalism and the cri� cs42, we can understand that she gets the celebrity status a� er the release of the video with Ani� a, which reinforces our comprehension on the importance of the "feats" to the phonographic industry. On the other hand, considering the forma� on of collabora� on networks in Brazil, we see that other elements appear in the confi gura� on of this strategy, like in the same example of K.O. which is directed by João Monteiro, who is responsible for "discovering" Gloria Groove. He is also the director of Dona, Gloria's fi rst music video. Other pla� orms are important for the circula� on of audiovisual content and for placing these ar� sts in the present � me. Both Pabllo Vi� ar and Gloria Groove have profi les on Instagram43. In them, the ar� sts disclose their performances, concerts, shows, music videos and explain their rela� onship networks with other ar� sts, fans and adver� sers. We understand that various fl ows are constructed, and we believe that in each of these communica� ve processes the body of a character is created, not only as a mere character but as a double-subject, in and out of drag. It was also by the "stories" on Instagram that Vi� ar announced she was producing a new music video featuring sertanejo singer Lucas Lucco, launched in January 29th, 2018. And she displayed backstage scenes from the launch of Corpo Sensual on the cable TV channel Mul� show. It is also using "stories" that Groove exposes gi� s received by sponsors and fans, discloses music videos from other ar� sts, like drag queen Sabrina Sister, who she calls her "funk blonde sister".
Final considera� ons
Both Vi� ar and Groove use the strategies of YouTube, Instagram and other pla� orms to make their products visible and consumed in the current context. In comparison to Groove's, Vi� ar's moderate
40 After a controversy on copyright involving Gorky, Pabllo Vittar's manager and musician from the group "Bonde do Rolê", the hit song "Todo Dia" featuring Rico Dalasam was taken from all audio and video pla- tforms. More information on
41 Information available on
42 The newspaper articles about Pabllo Vittar published in 2017 are mostly about her career after two events occurred from July to September: the launch of the music video "Sua Cara" featuring singer Anitta and the American group Major Lazer (which had more than 20 million views in 24 hours); and her parti- cipation in Fergie's concert on Rock in Rio. The article from Folha de São Paulo, published on August 6th, a week after the launch of "Sua Cara" holds the headline "Fantastic Girl" and reinforces the impulse on Pabllo's career after the partnership: "The singer saw her fee jump from R$ 2,000 to R$ 50,000 and her persona became a LGBTQ symbol" (Do Carmo, 2017, p. C1). The newspaper doesn't question the fact that Pabllo gained popularity by non-professional means almost immediately in 2015, with almost 1 million views four months after the launch of the video "Open Bar", a parody of the song "Lean On" from the group Major Lazer. This shows how the critic creates the ascension of the "Fantastic Girl" through collaborations with other successful pop artists.
43 Gloria Groove has 264,000 followers on Instagram. Pabllo Vittar has 6.6 million, being the world's most followed drag queen and overtaking RuPaul (1.8 million), the American hostess of the famous reality show that takes her name in the title and a reference to Vittar, who talks about her in the fi rst video of his vlog because she has a masculine drag queen name. The profi les can be seen on
15 performance is more easily absorbed by the regulatory codes of the devices of capitalism. On the other hand, Groove has a more aggressive tone, as seen in Dona, and disputes the hegemonic performances of drag queen iden� � es in Brazil. The presence of these two ar� sts on these pla� orms makes possible for us to understand these pla� orms as devices that have a very complex form of opera� on, ar� cula� ng drag queen iden� � es while disclosing them. These new forms of produc� on and interpella� on that are explained through technici� es and rituali� es ar� culated on the techno-communica� ve environment show us the moderniza� on of capturing processes. However, as we dis� nguish the appropria� on of musical genera, produc� on and consump� on methods among the two ar� sts, we see diff erences in these subjec� va� on processes. While Vi� ar performs using aspects of a hegemonic femininity - with a high vocal range, a body that moves sensual referring to other sexy women performances (as we can see in Corpo Sensual) -, Groove builds a more androgynous performance adjoining hegemonic masculini� es and feminini� es. Groove appears in the music video Império, for example, with an extravagant and exaggerated look intending, in some extent, to build a persona that expresses herself through costumes and make up. At the same � me, she appears in the video without her drag queen elements, as a means of ensuring fl uidity in what we recognize as been drag queen, showing herself without the aspects that build her drag persona. We understand that the drag queen iden� ty in these two ar� sts show the possibili� es of cultural exchanges through diff erent performa� vi� es that are crossed by images fl ow and segmented experiences amplifi ed globally. Therefore, we see how the dynamics of pop culture and their values of using, sharing and also their aesthe� c values ar� culate and associate bodies, objects and the way they inhabit the contemporary world (Jano� Jr, 2015, p.51). The experiences in pop culture are related to the way we conceive a kind of pop temporality, that is, the understanding that pop brings � me to the present and cons� tutes an eternal "new". But, in fact, it can put in evidence diff erent temporali� es that conform our daily rela� ons. When we put into the contemporary context the way drag queen ar� sts have found specifi c forms to poten� alize their gender iden� � es aesthe� cally and poli� cally through digital culture, we understand how these meanings are anchored in historical aspects of music genera. They indicate aesthe� c confronta� ons, subjects cons� tu� on forms, the way pop culture works in the domain of aff ec� on and in market strategies, and also how it implants cultural expressions in everyday prac� ces - such as albums and music videos (Jano� Jr, 2015, p. 54). As Soares (2012) affi rms, music videos are deliberately transtemporal, that is, they provide to the spectator diff erent temporal experiences. In this ar� cle, we a� empted to foster discussion about pop culture's poten� ali� es and the dispute for visibility through dissident gender performances, through movements of con� nuous transi� ons, the repe� � on of experiences and emergency a� empts that ar� culate communica� onal products and everyday prac� ces.
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